An antagonist of the obvious

Redivo, since very young began to paint, he was always an antagonist of the obvious, be inspired by his own definition that suits him perfectly.

 At one point, he stopped to use the brush, in the correct belief that it would be necessary for him to leave the track on which he had started, to derail  towards involvement and commitment which are well superior to make art for pleasure and delight for the observes, with the risk just to increase the obvious and lose interest.

 Moreover, the teacher Redivo believes that the past does read better the present and, in his case, this was serious because the artist has quickly found itself, replying with strong self-taught formation but for this fervent and enthusiastic beyond any words.

He has the ability, at the right time, to take the bull by its horns and now the teacher seems to dominate very well the situation by stating with full awareness the sense of continuity in his artworks that must always be perceived, claiming, however, himself a clear position in the chaos of contemporary art.

 The titles of his artworks speak volumes about the profound meaning of figurative ideas, first between all, the machine of the nodes.

 Because it is a real machine, in the sense of a production system whose results are constantly renewed before the eyes of visitors but it is remain fundamentally faithful to the philosophy of his work.

 Now the numerous artworks based on this "production system" attest well as the machine of the nodes is a metaphorical and poetic machine.

it generates and assembles forms (this stage involves any kind of tissue ) tells an epic visual, where the given ideological data, the fantastic and the emotional are solidly connected together and the node, after all, is what, forces the viewer to think about the connection.

 The node is join and hold together, but it is also building and safeguarding.

 With this same basic meaning, moreover, many philologists wanted decipher the fatal termination, many others never to "religion" over the centuries.

 Right or wrong is this interpretation, one may wonder if for the teacher Redivo this machine able to make objects, but not all equal and verifiable but rather amazingly different and indeed dialectically decipherable.

This machine is a kind of secular religion through which the teacher expresses outrage and anguish, hope and ardent passions, joys and sorrows, the journey of a life all aimed to clarify things using communication with those who presents herself.

 The "products" of the machine of the nodes can be viewed as books that can’t be opened, as surgical operations conducted on the cloth and then sutured with stitches macroscopic and disturbing, as extreme outcomes of a desire to tear and break dating back to the times of social and political movement of 1968 , the times when our teacher began to become aware of himself as an artist.

 The node can also be seen even as architectural objects, another brick factory, the art itself and the thought that is generated.

 It's an anti-academic orientation, no doubt, and since very young the proximity with some painting and social revolutionary, like Guttuso, pushes Redivo in this direction.

 Now the contents, however, are only conceptual and inside those products of the machine of the nodes we can see the outrage over the failed democracy of our country, the pain of oppression and selfishness, the despair for a future that is subtracted.

 The teacher Redivo conveys to us the contents painful but the powerful images of the nodes are like an antidote and force us to think.

These works are the fruit of an inexhaustible creative enthusiasm when anger and pride become fatigued forms and, at the same time, subjected to the inner law of balance, of the measure, of the ethics, which brings with it an ancient tradition and Redivo seems a legitimate descendant.

 And the tradition taught to be wary of the obvious.

 The teacher Redivo this lesson has fully metabolized, a visit to an exhibition of his experience is lively, entertaining, informative and rewarding for all those who care about the artist's work, a job that should and could be considered one of the more useful work required by our society.